type made of dotshttps://fontsinuse.com/tags/3416/type-made-of-dots
Examples of fonts in use tagged with “type made of dots”en-USCopyright 2019 , FontsInUse.com LLCSat, 25 May 2019 14:01:00 +0000Sat, 25 May 2019 14:01:00 +00003600https://fontsinuse.com/uses/26202/skylab-little-people-the-ventures
Garrison Martin

Design Unbound presents a new tool set for having agency in the twenty-first century, in what the authors characterize as a white water world—rapidly changing, hyperconnected, and radically contingent. These are the tools of a new kind of practice that is the offspring of complexity science, which gives us a new lens through which to view the world as entangled and emerging, and architecture, which is about designing contexts. In such a practice, design, unbound from its material thingness, is set free to design contexts as complex systems.

For a book dealing with the kinds of design that are free of "material thingness," Sélavy (designed by Nina Stössinger), a typeface entirely comprising of dots loosely held together, seems an excellent choice. Sélavy is paired with caps from FF Milo.

The numerals of Sélavy were also used on Pragmatic Imagination, a five-book preview to the Design Unbound series. The typeface's dot components establish a satisfying visual parallel to the pattern-heavy images chosen for the book covers. The secondary typeface used here is Avenir.

For an identity that takes it to the streets to attract visitors' attention, one might expect some bold type in the design. La Direction took another route and picked two typefaces that cut and punch their way through its black background, not unlike a projector piercing the darkness of a cinema hall.

The festival logo consists of the abbreviation RCD, set in Commercial Type’s Giorgio Sans, a low contrast and compact typeface with alternates for C, D, G, O, Q, X. On the poster, Giorgio Sans is supported by Damien Gautier's Beretta Sans (205TF). In the program booklet, Beretta is used throughout – from headlines and pull quotes to page navigation and body copy (where the dots almost merge into lines), a million little dots guide readers along three days of cinema.

Poster proposal for the 30th edition of “Els Tres Tombs de Constantí”, a traditional Catalan festival that includes a parade with carriages, horses and mules among other animals to celebrate the festival of Saint Anthony, the patron saint of animals.

The fonts that appear on the poster are Baskerville and Gill Sans Bold Condensed. In the latter case, some letters have been personalized to make reference to the decorative rivets that horses wear in their traditional clothing. In addition this letters has been printed with ink stamps to emphasize the traditional nature of the festival.

The Providence Public Library, located in Providence, Rhode Island, houses amazing collections, among them the Daniel Berkeley Updike Collection. The Updike Collection includes original type specimens of the bygone eras and other historical materials relating to the history of printing.

Every year, the library holds a type design competition, and June Shin—the 2016 winner and frequent user of the collection—created the event poster for the 2017 Updike Prize Award Ceremony and Lecture, which took place in October. She took a purely typographic approach that foregrounded two typefaces designed by the speaker Nina Stössinger herself. This approach feels appropriate for a lecture about designing typefaces, given by a typeface designer.

Taken from the title of the lecture, “Looking, Making, Questioning: Approaches to Type Design,” the phrase “Looking, Making, Questioning,” along with the speaker’s name, is set in Sélavy. Other event details use Nordvest, an innovative and versatile reverse-contrast typeface.

Krystal is an American fast food restaurant chain founded in 1932 in Chattanooga, Tennessee. The exact date of this identity redesign is unknown, but it was featured in Chermayeff & Geismar’s Trademarks, 1979, and appeared in ads as early as 1973.

Oglethorpe University created an experiential counterpart to their liberal arts curriculum. The divisions for Civic Engagement, Global Education, Professional Development, and Undergraduate Research and Scholarship combined under one roof to form the A_LAB, short for Atlanta Laboratory for Learning. The A_LAB identity activates the simple workmark set in Futura Bold by rotating it and dynamically filling in the underscore. Serifa, Miller, and Lekton support Futura in a graphic system that alludes to transit stations, maps, display boards, and urban wayfinding systems.

In the mid 1970s, 7 Up (AKA 7UP or Seven-Up) was one of the fastest-growing soft drink brands. Much of that success may be due to their extraordinary marketing campaigns featuring art from big names like John Alcorn, Charles White, III and Milton Glaser and the ambitious “United We Stand” series of cans featuring 50 different designs.

Flat can label from the “United We Stand” promotion celebrating the US Bicentennial. 50 different cans were released featuring the states. When stacked, the pattern on the backside of the cans created an image of Uncle Sam (see below).